The study of the work of the famous Chinese composer Tan Dun (b. 1957), who in many ways determines the image of contemporary Chinese music, is closely connected with the identification of the origins of national culture, the reflection of which he pays special attention to. Among them is the ritual and ceremonial side, which has not yet become the subject of special research. That is necessary for a fuller and more adequate interpretation of the content of Tan Dun’s works. The opera “Tea”, in another version “Tea: A Mirror of Soul” (2002) seems to be indicative in terms of revealing both the external event side of the action and the ritual side of the tea ceremony, which acts as one of the essential aspects of Chinese and Japanese culture and determines the most important aspects of the musical language and dramaturgy of the opera. The fate of the opera’s characters is closely linked to the discovery of the true “Canon of Tea”, which symbolizes the search for the right path in life. Combining the traditions of different cultures, the composer chose for his work the genre of hall opera, based on the fusion of the ancient theatres of Europe and Asia, as well as modern multimedia technologies. At the heart of this synthesis are Western opera, primarily Italian opera, the traditional musical theatre of China (Beijing opera) and Japan (Kabuki theatre). All means of artistic expression: the construction of the stage space, costumes and lighting, the actors’ movements, vocal techniques with elements of traditional theatre singing, and the use of organic instruments create a unique atmosphere of action. The tea ceremony becomes the “pivot” around which the tragic fate of Prince Seikyo and his beloved Princess Lan develops. The tea ceremony is not only an important piece of national flavor, but also a link between all the elements of the practice.